Memory, time and metaphor are central triggers for artists in exploring and shaping their creative work. This paper examines the place of artists as ‘memory-keepers’, and ‘memory-makers’, in particular through engagement with the time-based art of site-specific performance. Naik Naik (Ascent) was a multi-site performance project in the historic setting of Melaka, Malaysia, and is partially recaptured through the presence and voices of its collaborating artists. Distilled from moments recalled, this paper seeks to uncover the poetics of memory to emerge from the project; one steeped in metaphor rather than narrative. It elicits some of the complex and interdependent layers of experience revealed by the artists in Naik Naik; cultural, ancestral, historical, personal, instinctual and embodied memories connected to sound, smell, touch, sensation and light, in a spatiotemporal context for which site is the catalyst. The liminal nature of memory at the heart of Naik Naik, provides a shared experience of past and present and future, performatively interwoven.
Igor Stravinsky’s The Rite of Spring has inspired a plethora of artists in its hundred years of history. As it transcends geographic barriers, it has also been choreographed by many great dance masters such as Maurice Béjart and Pina Bausch from the West, and Hwai-Min Lin and Helen Lai from the East. In this paper, Ting-Ting Chang focuses on the choreographic aesthetics of versions of The Rite of Spring by choreographers Zhang Xiaoxiong and Shen Wei. Zhang’s version depicts images with references both to the original work of Vaslav Nijinsky, and to aspects of Asian culture in a way that is sensitive to the original music and to his memories as a child living in Cambodia. Shen has been known for his organic movement vocabulary and unique way of using Chinese cultural elements. By tracing their separate creative processes, she discuss how choreographers negotiate tradition and innovation through their different choreographic methods and aesthetic visions through contemporary dance.
New dance forums in India have evolved recently, allowing performers to identify conflict areas in performative practice. This development has arisen as a consequence of questioning techniques as exercised in classical dance pedagogy. Aastha Gandhi's research looks into different tools of performance provided by Gati Dance Forum in New Delhi to engage with these techniques through different pedagogical approaches. The learning and unlearning of performance skills constantly challenges the dancer’s perception of audience-performer, body-dance and dance-space relations, vis-à-vis the individual choreography-creating process. The need to challenge the body to go beyond the taught and practised language has consequently developed a distinct performative text, which is visual, verbal and embodied. Deriving from a theoretical idea of Paul Ricoeur’s, the performance text is examined at levels of structural explanation and interpretation, where the different components act as ‘discrete units’ to form an arranged whole and the constituent units acquire a signifying function.
Dublin Contemporary Dance Theatre (1979–1989) was a significant company in the development of dance in Ireland, and the first state funded contemporary dance group. For a period, the company were leading innovators in the country in contemporary dance and explored the boundaries of what constituted the dance form, leaving a lasting impact on Irish dance heritage, although relatively little has been written about their work to date. This paper explores the context for the company’s work, discussing the relationship between the body and language in Irish social, political and cultural history. Specifically, I focus on their production Bloomsday based on James Joyce’s Ulysses, which reveals key issues about the relationship between body and language in the company’s work.
Interject (a site-specific dance work) was performed on a ledge inside the Gallagher Academy of Performing Arts at the University of Waikato, Hamilton, New Zealand in November 2012. This paper reframes a complex picture of web-like connections and challenges around the relocation and re-envisioning of several site-specific choreographies into one specific site. How do you re-negotiate the dance content in a different site? What are the ramifications of an additional dancer? How do you interact/negotiate with the everyday use of the site? Is it a new work or not? These questions are discussed along with the unpacking and interrogation of my journey and a review of the end product as the choreographer in this process. This reframing will make reference to the past and how it has enriched and informed the expanding field of international site-specific dance (Brown 2010, Kloetzel & Pavlik 2009, Hunter 2005) and this particular project.
Anna Teresa de Keersmaeker has published three different volumes of A Choreographer’s Score in which she explains her choreographic processes. Each of the volumes contains interviews and parts of the choreography which are recorded on DVDs and published in writing together with the scores. The need for those publications might have been triggered by Beyonce’s use of de Keersmaeker’s choreography in her video Countdown and by a general need to create a legacy for her work. The question that such a publication poses is: what is documented here? Is it based on an idea of the work or a choreographic process or is it an instruction manual for performance? How does de Keersmaeker’s attempt relate to the archive as a place of reinforcing patriarchal law as stated by Jacques Derrida or is it rather an open approach to dance and performance as an art form, able to escape that law as Rebecca Schneider has discussed?
Paulo Freire and John Dewey are helping the youth of Cabelo Seco in the southern reaches of the Amazon to reclaim their violated community. Freire (1921–1997) and Dewey (1859–1952) remain alive in Cabelo Seco, identified as one of Brazil’s most dangerous communities. After describing the context of Cabelo Seco, the local community arts projects and the philosophies driving this work, I examine meanings of community dance in Cabelo Seco. Utilising a constructivist methodology that values dialogic interaction to build shared understandings, interviews and observations provide insights into diverse ways that people experience, value and make meaning from dance in community contexts. Dewey, Freire, Eisner, Boal, Zequinha and other arts educators are ever present in Cabelo Seco; understanding a lineage of influence helps to examine current practices and envision future projects. This paper explores the shifting and emerging role of dance in this community, focusing on how dance is helping to reclaim it.
This research questions how a ‘lived experience’ of contemporary dance could be deepened for the audience. It presents a series of choreographic ‘tools’ to create alternative frameworks for presentation that challenge the dominant modes of creation, presentation and meaning making in contemporary dance. The five tools established and applied in this research are: variations of site, liminality, audience agency, audience-performer proximity and performer qualities. These tools are framed as a series of calibrated scales that allow choreographers to map decisions made in the studio in relation to potential audience engagement. The research houses multiple presentation formats from the traditional to the avant-garde and opens up possibilities for analysis of a wide range of artistic dance works. This research presents options for choreographers to map how audiences experience their work and offers opportunities to engage audiences in new and exciting ways.
The last decades have revealed how dance artists can recast the body in dance through multiple points of view, genres and styles. The outcomes offer a challenge to the means of engagement with performances that mine from multiple sources and inspirations. This paper proposes that the means by which to engage with and understand the dramaturgical reasoning in these contemporary works is through a decentred perspective. In considering the contemporaneity (Agamben, 2007) of current dance practice, together with cultural, scientific and philosophical inquiries into order from chaos or complexity theory, the paper invokes Derrida’s use of the term decentred—used to reposition the dynamic aspects of cultural structures, with Deleuze’s suggestion of rhizomatic thinking—which goes even further in delineating structure—to describe a somewhat idealistic proposition that may enable contradictory practices within dance to inhabit the same philosophical space.
Several UK dancers with physical impairments have been developing careers as dance makers, leaders and performers but there remain many barriers for dancers with disabilities to enter training and then the dance profession. Each has a story about the experience of being accepted, or not, within the ‘mainstream’ contemporary dance environment. This paper examines the experience of artists who are contributing to a research project that brings together experts in dance and law to discover more about what would better enable dancers with disabilities to play a full role within the cultural landscape. Observations based on witnessing rehearsals together with analysing the discourse that emerges from the artists’ work shows the potential impact of this work on legal frameworks and the dominant aesthetic frameworks that take root in professional dance practice. The paper brings fresh insights to questions about how we critically engage with and value disabled dance.